Rock relief in the context of "Rock art"

⭐ In the context of rock art, rock reliefs are distinguished from other techniques by what primary characteristic?

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⭐ Core Definition: Rock relief

A rock relief or rock-cut relief is a relief sculpture carved on solid or "living rock" such as a cliff, rather than a detached piece of stone. They are a category of rock art, and sometimes found as part of, or in conjunction with, rock-cut architecture. However, they tend to be omitted in most works on rock art, which concentrate on engravings and paintings by prehistoric peoples. A few such works exploit the natural contours of the rock and use them to define an image, but they do not amount to man-made reliefs. Rock reliefs have been made in many cultures throughout human history, and were especially important in the art of the ancient Near East. Rock reliefs are generally fairly large, as they need to be in order to have an impact in the open air. Most of those discussed here have figures that are over life-size, and in many the figures are multiples of life-size.

Stylistically they normally relate to other types of sculpture from the culture and period concerned, and except for Hittite and Persian examples they are generally discussed as part of that wider subject. Reliefs on near-vertical surfaces are most common, but reliefs on essentially horizontal surfaces are also found. The term typically excludes relief carvings inside caves, whether natural or themselves man-made, which are especially found in Indian rock-cut architecture. Natural rock formations made into statues or other sculpture in the round, most famously at the Great Sphinx of Giza, are also usually excluded. Reliefs on large boulders left in their natural location, like the Hittite İmamkullu relief, are likely to be included, but smaller boulders may be called stelae or carved orthostats. Many or most ancient reliefs were probably originally painted, over a layer of plaster; in some traces of this remain.

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👉 Rock relief in the context of Rock art

In archaeology, rock art refers to human-made markings placed on natural surfaces, typically vertical stone surfaces. A high proportion of surviving historic and prehistoric rock art is found in caves or partly enclosed rock shelters; this type also may be called cave art or parietal art. A global phenomenon, rock art is found in many culturally diverse regions of the world. It has been produced in many contexts throughout human history. In terms of technique, the four main groups are:

The oldest known rock art dates from the Upper Palaeolithic period, having been found in Europe, Australia, Asia, and Africa. Anthropologists studying these artworks believe that they likely had magico-religious significance.

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Rock relief in the context of Persian art

Persian art or Iranian art (Persian: هنر ایرانی, romanizedHonar-è Irâni) has one of the richest art heritages in world history and has been strong in many media including architecture, painting, weaving, pottery, calligraphy, metalworking and sculpture. At different times, influences from the art of neighbouring civilizations have been very important, and latterly Persian art gave and received major influences as part of the wider styles of Islamic art. This article covers the art of Persia up to 1925, and the end of the Qajar dynasty; for later art see Iranian modern and contemporary art, and for traditional crafts see arts of Iran. Rock art in Iran is its most ancient surviving art. Iranian architecture is covered at that article.

From the Achaemenid Empire of 550 BC–330 BC for most of the time a large Iranian-speaking state has ruled over areas similar to the modern boundaries of Iran, and often much wider areas, sometimes called Greater Iran, where a process of cultural Persianization left enduring results even when rulership separated. The courts of successive dynasties have generally led the style of Persian art, and court-sponsored art has left many of the most impressive survivals.

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Rock relief in the context of Behistun Inscription

The Behistun Inscription (also Bisotun, Bisitun or Bisutun; Persian: بیستون, Old Persian: Bagastana, meaning "the place of god") is a multilingual Achaemenid royal inscription and large rock relief on a cliff at Mount Behistun in the Kermanshah Province of Iran, near the city of Kermanshah in western Iran, established by Darius the Great (r. 522–486 BC). It was important to the decipherment of cuneiform, as it is the longest known trilingual cuneiform inscription, written in Old Persian, Elamite, and Babylonian (a variety of Akkadian).

Authored by Darius the Great sometime between his coronation as king of the Persian Empire in the summer of 522 BC and his death in autumn of 486 BC, the inscription begins with a brief autobiography of Darius, including his ancestry and lineage. Later in the inscription, Darius provides a lengthy sequence of events following the death of Cambyses II in which he fought nineteen battles in a period of one year (ending in December 521 BC) to put down multiple rebellions throughout the Persian Empire. The inscription states in detail that the rebellions were orchestrated by several impostors and their co-conspirators in various cities throughout the empire, each of whom falsely proclaimed himself king during the upheaval following Cambyses II's death. Darius the Great proclaimed himself victorious in all battles during the period of upheaval, attributing his success to the "grace of Ahura Mazda".

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Rock relief in the context of Gal Vihara

The Gal Vihara (Sinhala: ගල් විහාරය, lit.'rock monastery'), and known originally as the Uttararama (Sinhala: උත්තරාරාමය, lit.'the great monastery'), is a rock temple of the Buddha situated in the ancient city Polonnaruwa, the capital of the ancient Kingdom of Polonnaruwa, now present-day Polonnaruwa, in North Central Province, Sri Lanka. It was fashioned in the 12th century by King Parakramabahu I. The central feature of the temple is four rock relief statues of the Buddha, which have been carved into the face of a large granite gneiss rock. The images consist of a large seated figure, another smaller seated figure inside an artificial cavern, a standing figure, and a reclining figure. These are considered to be some of the best examples of ancient Sinhalese sculpting and carving arts, and have made the Gal Vihara the most visited monument at Polonnaruwa.

The images of Uttararama follow a different style from the images of the previous Anuradhapura period, and show some significant differences. The identity of the standing image is subject to a certain amount of dispute among historians and archaeologists, some of whom argue that it depicts the monk Ananda rather than the Buddha. Each of the images have been carved in a way that uses a maximum possible area of the rock, and their heights seem to have been decided based on the height of the rock itself. Each statue appears to have had its own image house, as indicated by the remains of brick walls at the site. The Uttararama was where Parakramabahu I held a congregation of monks to purify the Buddhist priesthood, and later drew up a code of conduct for them. This code of conduct has been recorded in an inscription on the same rock face containing the images of the Buddha.

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Rock relief in the context of Taq-e Bostan

Taq-e Bostan (Persian: طاق‌بستان, Kurdish: تاق وەسان, lit.'Arch of stone') is a site with a series of large rock reliefs in Kermanshah, Iran, carved around the 4th century CE during the Sasanian era.

This example of Sasanian art is located 5 km from the city center of Kermanshah. It is located in the heart of the Zagros Mountains, where it has endured almost 1,700 years of wind and rain. Originally, several natural springs were visible next to and below the reliefs and arches, some of which are now covered. Springs next to the reliefs still feed a large basin in front of the rock. The site has been turned into an archaeological park and a series of late Sasanian and Islamic column capitals have been brought together (some found at Taq Bostan, others at Mount Behistun and Kermanshah).

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Rock relief in the context of Abu Simbel

Abu Simbel is a historic site comprising two massive rock-cut temples in the village of Abu Simbel (Arabic: أبو سمبل), Aswan Governorate, Upper Egypt, near the border with Sudan. It is located on the western bank of Lake Nasser, about 230 km (140 mi) southwest of Aswan (about 300 km (190 mi) by road). The twin temples were originally carved out of the mountainside in the 13th century BC, during the 19th Dynasty reign of the Pharaoh Ramesses II. Their huge external rock relief figures of Ramesses II have become iconic. His wife, Nefertari, and children can be seen in smaller figures by his feet. Sculptures inside the Great Temple commemorate Ramesses II's heroic leadership at the Battle of Kadesh.

The complex was relocated in its entirety in 1968 to higher ground to avoid it being submerged by Lake Nasser, the Aswan Dam reservoir. As part of the International Campaign to Save the Monuments of Nubia, an artificial hill was made from a domed structure to house the Abu Simbel Temples, under the supervision of a Polish archaeologist, Kazimierz Michałowski, from the Polish Centre of Mediterranean Archaeology University of Warsaw.

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